Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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way that they were used in the Renaissance, for both design and presentation. Many <strong>of</strong> these extremely<br />
large models have been preserved, and numerous examples were painted and included elaborate,<br />
detailed interiors. Models may have been more understandable for laypersons, while sketches<br />
remained a language <strong>of</strong> the artistic and architectural pr<strong>of</strong>essions – a sort <strong>of</strong> private dialogue (Millon,<br />
1999). Although the Renaissance architect Filarete recommended in his treatise, that architects should<br />
sketch in the presence <strong>of</strong> their clients, the practice may have been limited (Filarete, 1965).<br />
Gianlorenzo Bernini, as an interesting example, was a pr<strong>of</strong>essional who successfully integrated sculpture<br />
and architecture, since not all baroque architects received training in secondary skills such as sculpture<br />
or painting. During this period, apprenticeships were a common method for architects to gain<br />
experience with some <strong>of</strong> these shops, specializing in architecture rather than various visual arts. Paper<br />
was continually more plentiful, evidenced <strong>by</strong> Johann Gutenberg’s printed bible in 1456. The baroque<br />
historian Henry Millon explains that visual imagery was required to express certain emotions or conceptual<br />
intentions: ‘Bernini’s father before him had held that in drawing up a plan a good architect must<br />
always try to provide it with real meaning (significato vero), or an allusion to something exceptional,<br />
whether that something was drawn from reality or from the imagination’ (Millon, 1961, p. 410).<br />
The political climate, attitudes, and construction practices <strong>of</strong> the time influenced and affected the<br />
design processes and representational techniques <strong>of</strong> baroque architects. Many <strong>of</strong> the architects’ drawings<br />
that survive were those <strong>of</strong> large buildings projects. They represent prestigious architects, members<br />
<strong>of</strong> a royal court or maintaining the trust <strong>of</strong> wealthy patrons. Several <strong>of</strong> them succeeded in<br />
reaching a position <strong>of</strong> status and prominence. These architects fraternized with politicians and ruling<br />
monarchy and in the case <strong>of</strong> France and the papal families in Italy, as members <strong>of</strong> royal courts. With<br />
this accessibility they were able to promote their skills and talents.<br />
Presentation drawings became necessary instruments, persuading with seductive illusion, describing<br />
the intention <strong>of</strong> an architectural proposal. <strong>Drawings</strong> were a way to obtain a client’s approval<br />
and funding. They furthered the architect’s image as a magician, able to conjure up the majesty and<br />
splendor so important to their clients’ purposes. They provoked dialogue, allowing the architect and<br />
client to speak a visual language. For example, the sketch <strong>by</strong> Carlo Fontana suggests two alternatives<br />
to engage the client in decision-making. The educated aristocracy could have formulated opinions<br />
on the future building, or at the very least desired knowledge <strong>of</strong> the proposed building’s concepts<br />
and intentions.<br />
Construction drawings, although probably not similar to those used today, were plentiful enough<br />
to accommodate large-scale projects, with their extensive interior ornamentation, individual articulation<br />
<strong>of</strong> traditional elements, and numerous details. Baroque building allowed for inventiveness – it<br />
required elaborate spatial organizations in plan, calculations <strong>of</strong> complex geometries, and the integration<br />
<strong>of</strong> sculpture with building components. <strong>Sketches</strong> were necessary to conceive <strong>of</strong> and work<br />
out these designs. Substantially more complex architectural solutions, such as Christopher Wren’s<br />
extended three-part dome for St. Paul’s Cathedral, dictated exploration through both drawings and<br />
sketches (Hersey, 2000). As demonstrated <strong>by</strong> Ange-Jacques Gabriel, coordination <strong>of</strong> a large staff <strong>of</strong><br />
draughtsmen required extensive visual communication. Baroque architects continued to utilize<br />
models to both comprehend an intended solution and communicate form to others. These threedimensional<br />
constructions were <strong>of</strong>ten highly detailed, even describing interior surface ornamentation<br />
as in the case <strong>of</strong> Wren.<br />
A majority <strong>of</strong> the architects from this period acquired their skills and training as apprentices under<br />
the direction <strong>of</strong> established architects. With this experience, they were educated in established<br />
methods <strong>of</strong> representing buildings; plan, section, elevation, and perspective. A number <strong>of</strong> these architects<br />
obtained additional experience in the spectacle <strong>of</strong> theater design, where a sketch would suffice<br />
for construction <strong>of</strong> a set or translated into a costume’s pattern. They viewed the sketch as less<br />
precious or definitive, allowing alterations and corrections to become a part <strong>of</strong> their process. Not all<br />
having emerged from a workshop tradition, they were yet able to develop the skills necessary for a<br />
design dialogue.<br />
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